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Takht-I-Foolad in Isfahan, Iran: a Historical, Archaeological, and Artistic Study of Gravestone

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Takht-I-Foolad in Isfahan, Iran: a Historical, Archaeological, and Artistic Study of Gravestone IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 5, Ser. 7 (May. 2019) 55-76 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Takht-I-Foolad in Isfahan, Iran: A Historical, Archaeological, and Artistic Study of Gravestone Dr. El. Gemaiey, Ghada Islamic archeology studies, Faculty of archeology, Cairo University Corresponding Author: * Dr. El. Gemaiey, Ghada Abstract: This research aims to study a site in Isfahan that includes many monumental buildings,such as tombs, mausoleums, mosques,Tikyet, caravansary, water reservoir, Mousala, and stone graves; namely Takht-I-Foolad. All these kinds of buildingsdate back to different periods, but most of them are related to theSafavid and Qajar periods.Despite the importance of this site, it did not gain the notice it deserves by researchers. It is a site that combines a variety of buildings that sharea main feature; seeming like the city of death,in Cairo, Egypt. It contains a complex for the living and the dead, serving both together, andhashouses and palaces belonging to the Qajar period. For that and some other reasons it was situated far away from Isfahan. Research Problem This site contains numerous buildings that are different in structure, function, planning, and style; all related to each other only by their location in that site, which is characterized by its unity. It has a wall that surrounds all the buildings inside. It brings into questionwhy the architect and the people chose this site in particular to construct their buildingsalthough it is known as a city of death. Do they live in it? Were they from the upper class or were they poor? What is the main feature of this site?Many gravestones with different decorations reflect the concept of death.Is the type of civil or religious buildings in this site similar to the type of buildingsfound in the main city? Or is it different because of the distance? Many questionsare posed on the genealogy of the site; the history of the men buried there, the type of architecture, and the decorationson the gravestones that surround the site and their meaning. What reason is behindproviding this site with many water reservoirs to supply all the buildings with water becoming a lively city for dead people? All of these questions and more needan answer, leading to another important question that requires more research: did the method of graves‟ decoration that appearedin the Safavid and Qajar periods represent a European influence, or was itthe result of those Safavid governors who turned back to their past looking for authenticity, finding in their gravestones from the Sassanid period a prolific heritage and decided to take it as a sample for their gravestones, resulting in the appearance of anew kind of tombstone photography. Research Objective This subject has many branches to follow; historical, archeological, and artistic.It is historically basedin attempting totracethosewho were buried in that site and whether there is any relation between them or was it random burial. The importance of study is in archeologically highlighting the meanings of the decorations and inscriptions on the gravestones,what they refer to, and their purpose.These questionsare to be answered in addition to the artistic description of the decorations, making a survey ofthe monumental buildings in this site in terms of their relevance, description, and planning, types, and whether or not they are related to the Safavid or Qajarin accordance with their location. Research Method The archaeological method is reflected in the description and analysis of the units and elements in the buildings. This study also aims to tracethe development of the urban structure of sites in the Safavid and Qajar periods, focusing on the religious and civil architecture.The study of urban architecture is to monitor the distribution of the buildings around the site and the causes behind such distribution.The archeological study is attempted after a comprehensive study of the historical, social, economic, political and religious motifs which play the main role in the appearance of such a site. To avoid confusion,the study will be confined to samples of gravestones in Takht foulad site, which is distinguished in many ways. By observing the gravestones around the world, tombstone similar to those located in this site are rarely found. Although it is difficult to deny the existence of other gravestones around Iran with some inscriptionsand decorative motifs similar to those in Takht Foulad, those tombstoneshaveelementsthat are different from the gravestones of Takht Foulad. Besides the written inscriptions, and geometric and floral elements, it is noticed in Isfahan that some other decorations explain the nature of the buried, their work, and ideology and so on. In this study, most of the decoration at the ancient gravestone in Takht Foulad in Isfahan will be monitored,especially those that represent the life of the buried and their life style.The sample for study DOI: 10.9790/0837-2405075576 www.iosrjournals.org 55 |Page Takht-I-Foolad In Isfahan, Iran: A Historical, Archaeological, And Artistic Study Of Gravestone will be approximately a 100 different gravestones around Takht Foulad,analyzing their decorationsin an attempt to make a survey of the animal, floral and geometrical elements carved on the surface of the tomb, and their meanings.Then,a comparative study between the gravestones that exist in Takht Foulad and some other gravestone types around Iran will be conducted to observe the differences and similarities between them. Also, reference will be made to some other decorations and statues found in those cemeteries to reflect some clues of Takht Foulad. Keywords: Tongue of the earth, Takht Foulad, Takht Polad, gravestone, geometric decoration, floral decoration, animal decoration, Shia ideology. ----------------------------------------------------------------------------------------------------------------------------- --------- Date of Submission:07-05-2019 Date of acceptance:23-05-2019 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION On Takht Poulad: I didn‟t wear Makeup My teardrop does not come to you (Anonymous poet) Takht Foulad is a place of multiple symbols like power, magnificence, victory, intellect, pride, care, protection, and the spirit of life.It is also considered a symbol of ideology and beliefs. Most of the symbols appearingon the gravestones in this place reflect a special case of the dead. As noticed, in art and architecture, Iran is always unique in all aspects whether life or death.This could be due to hundreds of reasons,but the concern here is withideology and how it influencespeople‟s life (pic. 1-55). So, who said dead man cannot tell significant tales! Location The site under study is located at the south of Zāyandé-Rūd River in Isfahan, close to an old district called Shiraz (plans 1,2) (Mahrabadi, 1352, p.846; Hunarfar, 1366, pp., 657-659).Mirzauay {1} said“Takht Foulad is considered one of the most important cemeteries in the entire world, like Bakia‟a in Medina, tomb abiTaleb in Mecca, Bab el Saghier cemetery in Damascus, Wadi el Salam cemetery in Najaf Ashraf, and Qum cemetery” (Mirzauay, 1382, p.18). This cemetery consists of hospice, mosques, Musala, Ab Anbar and tomb (pic. 56-61) (plans 1-2). Naming It is also known as tongue of the earth {2}, Takht Polad {3), Baba Roukn el Dien{4}. Date There is no fixed date to the cemetery, for itincludes many buildings and gravestones since the DayalimuhDynasty, but it started to be regarded as an official cemetery at the time of the savvied.This area was also a residential place for Zoroastrian at the savvied period (Azmey, 2001, p.193) before they relocated inJulfa area, south of Jiharbaghba‟aien. Material The sculptor chose the best types of stone to suit the temperature of Isfahan and to be maintained in good shape. At the same time,the stone used is one that can be carvedon, so he chose Parse stonefrom Najaf, white marble from Kerman like the gravestone in Mir Hospice, and green marble from Yazd. Decorations and elements By surveying the area, it is clear that the artist and the sculptor used all kinds of decorations, like floral, geometrical, animal,and human and angelic elements, side by side with inscriptions from Quran, poetry, and the name of the dead ones. The uniqueness of the elements in those gravestoneslies in the tools which could be regarded as a representative of the official work of the buriers, what they love, and even what they prefer to wear or use. Of course most of the inscriptions are related to the Iranian ideology which is their accompaniment in life and death. Floral elements One of the most prominent elements used in gravestones all over the world referring to paradiseare floral. Some of the floral elements on this cemetery symbolizethe kinds of flowers or trees planted in Iran and some others are different ones that could not be planted in Iran, especially Isfahan, because of the weather like Cedar (p.7). Some of those planted in Iran are Papaver, Anemone, R.Oecidentalis (Hekmatey, 2004, p. 142,195,&212) (pics.4-6). Cedar in Old Persian culture refers to Ihramazda in Zoroaster religion and it refers in Shia ideology to immortality, first found at Takht Jamshed in Shiraz. DOI: 10.9790/0837-2405075576 www.iosrjournals.org 56 |Page Takht-I-Foolad In Isfahan, Iran: A Historical, Archaeological, And Artistic Study Of Gravestone Generally, floral motifs refer to paradise and renewal of life for the dead, but sometimes by choosing a specific flower or branch or even tree the artist meanssomething else.Hence, trees in general refer to the whole human being process and his/ her completion, while they could simultaneously refer to the forbidden tree and the sin of Adam and Eve. Holding a flower in one hand or in both refers to the number of tombs the buried one hasseen (Nejad, 2001, p.44; Nina, 2015, p.70) (pic.
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